On Location | Little White Lies

On Location

Young woman in flowing white garment, surrounded by flowering plants, with other people in background.
On Location

On Location: The church ruins from The Blood on Satan’s Claw

by Adam Scovell

Adam Scov­ell vis­its the scene of one of the most dis­turb­ing moments in the his­to­ry of British hor­ror cinema.
A man in a dark coat leans against a stone wall, looking intently off-camera.
On Location

On Location: Harry Lime’s Vienna in The Third Man

by Adam Scovell

Retrac­ing the steps of one of film noir’s most icon­ic char­ac­ters through the Aus­tri­an capital.
Black and white image of a person walking away from the camera in a rural landscape with trees and a fence.
On Location

On Location: The London park from Michelangelo Antonioni’s Blow-Up

by Adam Scovell

Mary­on Park in Charl­ton lies at the beguil­ing cen­tre of the Ital­ian director’s psy­cho­log­i­cal mystery.
Narrow alley between stone buildings, graffiti on wall, two dogs in foreground.
On Location

On Location: The title sequence from Jacques Tati’s Mon Oncle

by Adam Scovell

The Parisian town of Joinville pro­vides the back­drop to the French director’s 1958 masterpiece.
A black-and-white image showing two people walking in a courtyard setting with a large, ornate building in the background and trees lining the courtyard.
On Location

On Location: The final shot from Agnés Varda’s Cleo from 5 to 7

by Adam Scovell

Paris’ Boule­vard de l’Hôpital pro­vides the set­ting for one of the most cher­ished end­ings in French cinema.
Two individuals, a woman in a colourful skirt and a man in casual clothes, walking on a wooden deck near a stone building with arched windows.
On Location

On Location: The footbridge from Richard Linklater’s Before Sunrise

by Adam Scovell

This unas­sum­ing over­pass plays a piv­otal role in Céline and Jesse’s Vien­nese waltz.
Ornate red-brick building with arched entryway, Gothic-style architectural details, and frosted glass windows.
On Location

On Location: The dance academy from Dario Argento’s Suspiria

by Adam Scovell

A pil­grim­age to one of the grand­est and most icon­ic set­tings in all of hor­ror cinema.
Three figures running down a narrow alley, dressed in clothing typical of the 1930s or 1940s.
On Location

On Location: The bridge from Jules et Jim

by Adam Scovell

This grey struc­ture in the cen­tre of Paris pro­vid­ed the Nou­velle Vague with one of its most icon­ic images.
Imposing castle with towers, turrets and arched bridge reflected in still water, set against cloudy sky.
On Location

On Location: The Norman castle from Kind Hearts and Coronets

by Adam Scovell

This his­toric fortress is the scene of some unsavoury goings on in Robert Hamer’s clas­sic Eal­ing comedy.
Lush greenery covers buildings in a European city street with parked cars and pedestrians.
On Location

On Location: The house from Michael Haneke’s Hidden

by Adam Scovell

The Aus­tri­an director’s 2005 thriller is built around the mys­tery of place, as a vis­it to this Parisian set­ting revealed.